Part of The Music Never Stopped Project 2002 shn em up initiative 4/24/2002

Thanks to Raoul Duke for the disks! ___________________________________________________________________________________

–Warlocks Record Demo– 101-d1t01 – Can’t Come Down 102-d1t02 – Mindbender 103-d1t03 – The Only Time Is Now 104-d1t04 – Caution// 105-d1t05 – I Know You Rider 106-d1t06 – Early Morning Rain ___________________________________________________________________________________ Notes: 1. Caution fades out at 3:10 2. shntool confirms tracks on sector boundaries 3. small spikes at the start of some tracks were silenced using Cool Edit ___________________________________________________________________________________

Filler on 65-11-03: Dates uncertain Disks from Raoul Duke

SHn conversion mvernon45@attbi.com 4/24/02 The Music Never STopped Project ___________________________________________________________________________________

note: I received this file set with the filler. However, the db.etree listing only lists the Warlocks demo material. The filler contains some interesting early material, making it well worth circulating.

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 8-08-11 ___________________________________________________________________________________

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

David Sorochty: Most tapes have the song order listed in Deadbase 9 and earlier editions, which is incorrect. The correct song order is what’s listed above. Our tapes seem to come from two shorter tapes which overlap a bit at the beginning of Viola Lee Blues. Here’s what’s on my DAT tape which comes from a low gen reel: 7/3/66 Part 1 – some of the between song talking, then: Viola Lee Blues Big Boss Man Sittin’ On Top of The World# Filler (Scorpio 45 RPM): Don’t Ease Me In Stealin’ 7/3/66 Part 2: Dancin’ In The Streets I Know You Rider# #He Was A Friend Of Mine Next Time You See Me all of the between song talking intact with no splice and then: Viola Lee Blues# (cuts out after just a minute or so) It is apparent that chronologically what I call Part 2 comes first, then Part 1 – they just overlap a bit on the beginning of Viola Lee. Most cassette tapes in circulation have the above order with the Scorpio filler moved to the end (sometimes the Viola Lee overlap part is intact, other times it is cut off). A few tapes in circulation have Part 2 first and then Part 1 with the overlap removed (which I believe is the right order) and the Scorpio filler last. DeadBase X does list what I believe is the correct song order and also lists several more songs which do not circulate. They are: Unknown, Minglewood, Cold Rain, Unknown, BIODTL, Cream Puff War & It’s A Good Thing.”

Thayer Jennings: “My reasoning for listing He Was A Friend Of Mine and Next Time before Viola Lee:* I have three different copies of this — two of the three are similar to the DeadBase listing (i.e. with Friend Of Mine and Next Time at the end of the set)… but the last copy came to me mislabeled as “04/23/66 San Fran”… but it is actually this (07/03/66). The set list on this third copy is the same as I’ve listed above (cutting in on Friend Of Mine and cutting out during Top Of The World). The key ‘dead air’ segment — between Next Time and Viola Lee is intact. There is a small bit of conversation between the two (which partially exists on my other copies): Next Time > applause > Garcia [to band]: “Had to do it man. I had to do it.” (laughter) “I just had to do it, you know how it is.” (pause, but no splice) Pigpen [to Garcia (or band)]: “Viola Lee Blues”. Garcia [to audience]: “We had a request for this… before… before we did it. And uh…” Lesh(?) [in background, to band]: “I don’t know, man. I can’t tell by this…(?)” Garcia [continuing, to audience]: “…and… it’s called Viola Lee Blues.” Weir(?): “Aww, no…”> Viola Lee Blues.” DeadBase X [under ‘mislabelled tapes’]: Many copies of this have four additional songs after Next Time You See Me. Stealin’ and Don’t. Ease are from the Scorpio Records single. Lindy is from ‘Historic Dead’ and Baby Blue is from ‘Vintage Dead’. This tape is sometimes dated 9/4/66.

DeadBase X [under ‘Tape Timings’]: There is a silver of Don’t. Ease introduction that cuts almost immediately between Top Of The World and Dancin’. Before Viola Lee Blues — Jerry: “We had a request for this before… before we did it. It’s called Viola Lee Blues.” Bobby: “Oooh Nooo!” Before I Know You Rider — Jerry: “Along with our previous dedication dedicating this evening’s sets on our part to the Sundancers in Ignatio, Colorado, we’d also like to dedicate a certain portion of this to Mnasidika, this little clothes store, you know, down on Haight Street that has some things and it’s all right, and it’s all right… indeed. We’d like to continue along the same happy vein… with another song, no doubt.” I Know You Rider cuts during the “muddy Water” verse. The beginning of He Was A Friend Of Mine is cut.

Recordings: 34 SB. The complete list circulates in SBD. The beginning of He Was A Friend Of Mine is clipped with an indeterminate portion missing. Sittin’ On Top Of The World cuts off with a significant portion missing. The end of I Know You Rider cuts off with a significant portion missing. Also (consult vault sources). To see a recording box label, (as per Michael Wanger letter, see 07/??/66), from Golden State Recorders: http://www.pompano.net/~goodbear/concert_art/07_03_66.html

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

Notes: — Fixed the flaw in Dancin’ In The Streets — This is a fix of shnid=21063 — Thanks to David Gans for the source discs __________________________________________________________________________

–Set 1– 101-d1t01 – I Know You Rider 102-d1t02 – Big Boss Man 103-d1t03 – Standing On The Corner 104-d1t04 – Beat It On Down The Line 105-d1t05 – In The Pines 106-d1t06 – Cardboard Cowboy 107-d1t07 – Nobody’s Fault But Mine 108-d1t08 – Next Time You See Me 109-d1t09 – He Was A Friend Of Mine 110-d1t10 – Cream Puff War

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

Dancin’ In The Street Cold Rain and Snow King Bee One Kind Favor You Don’t Have To Ask Hey Little One Beat It On Down The Line Schoolgirl New, New Minglewood Blues

This is an upgrade over previously circulated copies of this show. The dates and song lists for 7/29 & 7/30 come directly from the boxes that the master reels are stored in.

A GEMS production -+-+- www.shnflac.net -+-+- September 2008 _______________________________________________________________________

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

This is an upgrade over previously circulated copies of this show. The dates and song lists for 7/29 & 7/30 come directly from the boxes that the master reels are stored in.

A GEMS production -+-+- www.shnflac.net -+-+- September 2008 _________________________________________________________________________________

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use ffp to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 9-27-08 _________________________________________________________________________________ 10. gd66-10-07.14102.sbd.unknown.t-flac16

This is flac encoded & tagged version of shnid: 14102

Grateful Dead Fillmore Auditorium 10/7/66

1. Cream Puff War 2. Good Morning Little Schoolgirl 3. Stealin’

Total Time 19:02

Note – this originally appeared in the SF Nights compilation, though the md5’s seeded here are different from the same tracks in the SF Nights compilation

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 9-19-08 __________________________________________________________________________

*There is considerably more hiss on the “Out-tro” (d2t14), which would suggest at least one extra cassette gen.

According to Deadlists, this is the most likely setlist for this date with the 1st set missing. The source of this recording is a bootleg CD, so the lineage is unknown. It is likely that the master was impaired upon initial recording, possibly in part by worn heads on the recording machine. The sound is distant, thin, and lacks low end as well as having a low vocal mix.

stellablue.etree.org =============================== RET’s Notes: Karl Kr?ger sent me an audio disc of the first set from Hamburg. It also contained the “Out-tro” from the show’s end. I extracted the tracks with EAC (with proper offsets), and confirmed the tracks were cut on sector boundaries with SHNTool. They were fine. I took the opportunity to render the shns from sets 2 & 3 seekable using mkwACT. The track boundary between d2 tracks 13 & 14 was recut using CDWAV. No other change was made to existing tracks from the previous seed (shnid=4940).

Karl gives the following source info for the material he supplied: SBD> ??> DAT > CD-R

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

(1) With unidentified special guest (2) Merry-Go-Round Broke Down tuning [0:27] after Me and My Uncle

A very good friend of mine was saying to me recently that he considered this to be one of the great early shows and I can’t disagree with that. The main thing that marred it for him was the high level of background noise. He asked if I could remaster it with the main aim of reducing the noise to an acceptable level. So I’ve done just that but along the way I’ve also cleared up some of the small dropouts and various clicks, etc.

Noise reduction was done with Waves X-Noise plugin using WaveLab as the host.

The source material is that in shnid 8575

The editing was done with a number of applications, re-tracked with CD Wave and shns made with shorten v3

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

01. I Know Your Rider 02. Cold Rain and Snow 03. Cream Puff War 04. Sitting on Top of the World 05. The Same Thing 06. Stealin’ 07. New Minglewood Blues 08. Your Sons and Daughters * 09. Fire in the City *

* Jon Hendricks and the Warlocks

EAC\SHN by Teri Kimbro (RamblinRose) any problems contact me at ramblinrose@cinci.rr.com Editing down with Cool Edit Pro Retracked using CDwav Sector Boundries confirmed with SHNtool MKWact used to compress to SHN

Special thanks to my good friend and mentor Darryl Hinko for being such a patient man and helping me through my first seeding experience. Also to my friend Jeff Linton for introducing me to the Grateful Dead. To both, I am truly grateful. ___________________________________________________________________________

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

[Got this recently; this is all there is. The quality is exceptional- sounds like it must be studio but I’m thrown off by the brief (and definite) applause at the end of King Bee. Regardless of lineage or verification it is still well worth the listen! – theotherwayne@yahoo.com 6/03]

> David Sorochty: this tape is mislabeled compilation tape of material from 11/19/66. This tape was in circulation for years before the complete 11/19/66 became available. There is some reverb at the beginning of High-Heeled Sneakers which must have been added later since it is the 11/19/66 performance, which does not have the reverb.

Jim Powell: All tapes circulated marked with this date are mislabeled. High Heel Sneakers, Cold Rain and Snow, and Smokestack Lightning are all 11/19/66; the Smokestack Lightning > King Bee is Studio 67.

Teddy GoodBear: While it may be true that all tapes marked with this date are mislabeled, I have a Smokestack Lightning that I got in the late 70’s marked “2/12/67”. I’m not able to tell whether it is a studio or show version, but it definetly is NOT 11/19/66. It also seems to end without going into anything; as being not the same as below (??/??/67) “Smokestack Lightning > I’m a King Bee” entry. I agree with the few that believe Smokestack being played in 1966 was too early!

Bill Graham calling Billy K. for advice & Bill Graham is the one with the clipboard at the trips Festival). *Where is this from? If anybody has the rest of this interview, let me know. Smokestack# [to 9:41#] Now, I’m not sure if it’s different than 11/19/66. It may be the same as Jim said. Being so slow it’s hard to tell. I didn’t. remember the cut I had, but there is a cut none the less. Perhaps someone with pitch control can speed it up & compare it to the 11/19/66 one.

Tagging notes: Show information is embedded within the headerof each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

–Set 1– 101-d1t01 – /Me & My Uncle 102-d1t02 – Next Time You See Me 103-d1t03 – He Was a Friend Of Mine 104-d1t04 – Smokestack Lightnin’ 105-d1t05 – Morning Dew 106-d1t06 – It Hurts Me Too 107-d1t07 – /Beat It on Down the Line 108-d1t08 – Jerry “We’re only doing this to kill time folks” 109-d1t09 – Dancin’ In The Streets

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 6-22-08 _________________________________________________________________________________

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 6-25-08 _______________________________________________________________________________

COMMENTS He Was A Friend cuts off. Song order is speculation by Teddy GoodBear, based on the late 70’s tape and cuts.

Jeff Tiedrich: No way this is 9/29/67, which is where Deadbase moved this list for Vol 9. Their contention is that this is the famous Mickey’s first show falls apart when you hear the entire tape. Alligator comes to a definite conclusion and is no way part of the infamous two-hour Alligator/Caution.

David Sorochty: The info in Deadbase about 5/5/67 really being 9/29/67 is not so of course. The song order I have is:

Dancin’ Golden Road > New Potato Alligatior He Was A Friend Of Mine

Alligator starts and comes to a complete finish, so all the talk of a two hour long Alligator (for the show on this tape at least) is not possible. The info listed in Deadbase saying Alligator—> Caution is obviously wrong then too.

What’s DeadBase’s logic? Does anybody hear Mickey on the tape? I don’t. So if there is no Mickey then the tape has to be before 9/29/67 or whenever Mickey was out of the band during the early 70’s. I’ll go along with labeling it, “circulates as 5/5/67, but date is uncertain”.

As I said, I got my older copy around the late 70’s from a NY trader who had a lot of “Fillmore” tapes in his collection. He told me the date & said it was from the Fillmore. Assuming we believe it’s from the Fillmore, that narrows down the date quite a bit.

And if you look at these songs, they fit in with the other “timeframe wise” dates these songs were being played. If I came into this cold without any dates attached to this tape, I would say based upon other setlists that this was 3/19/67, 4/12/67 or 5/5+6/67.

Christian Crumlish, his unedited review some of which was published in “The DeadHead’s Taping Compendium vol. #1”:

05/05/67, Fillmore Auditorium, San Francisco, California [stage banter], The Golden Road > New Potato Caboose, Alligator, He Was a Friend of Mine//

The tape itself came to me mislabeled as a “Fillmore West Acid Test 02/06/67.” Not only was there no Acid Test on that date, but there was no Fillmore West in 1967 either. It probably got called an acid test along the way because of the trippy stage banter, labeled on my original as “The Effects of Vitamin A.” My first copy of this was an audience tape but a soundboard is now available. Some tapes have the He Was a Friend of Mine first (before the chatter), but the soundboard shows that it clearly comes after Alligator.

Here’s a transcript of what’s said on stage before The Golden Road:

–tuning sound–

?: Wheeeeeew

Bob and others: aaaaghh, urrrghhh, etc.

Jerry: We’re stalling. We’re stalling while our uh drum– I’ll tell you tell you exactly what’s going on up here so nobody has to wonder anymore.

Bob?: Lay it on me. [“on” pronounced “own”]

Jerry: What’s going on is our drummer is putting a uh corn plaster on his bass drum.

Phil?: He is lifting his left thumb….

Jerry: That’s what’s happening.

–bass drumming and cheers, organ notes–

Bob: OK now this is a drop-out song and as far as you all are drop-outting, dance dance dance….

?: waauugh!

?: Did somebody say “waaaugh!”?

?: waaaaeghh

Bob: Everybody say “waaaa!”

?: Waaaagh!

Bob: Thank you–

Jerry: Gosh

Pigpen: Let me hear everybody say “fuck!”

audience (weakly): Fuck!

Jerry (languid): Louuuder.

Bob: Everybody say “dope”

audience: dope!

Jerry: awww

Bob: Everybody say “primate”

??: What?

Jerry: Say what?

Bobby: Oh yeah? … Everybody say “What?”

audience: What!

??? (goober voice): Whut?

Jerry: Hey that was good that was good.

Phil: Everybody say “Ohhh noooo!”

audience: No!

Pig (singing): T’ain’t nothing ‘a me…

–golden road starts–

Here are some glimpses into the personalities of the members of the band:

Bobby tends to take things to an abstracted level, his cry of “primate” is not taken up and leaves even the other band members puzzled. Phil’s suggestion seems to be based on the sound that people sometimes make when they’re tripping too hard. Pig’s contribution is more earthy and natural.

The hippie attitude without the intellectual pretensions. Jerry, back when he still spoke from the stage, is actually filling in the audience on what’s going on upstage, in a small way leveling the barrier between performer and fans.

The Golden Road is energetic and over quickly, segueing neatly into New Potato. (Bobby says something like “This one if for Laughlin” before launching into the first verse.

– a known lineage without a stated cassette generation (or the uncertainty of one)

– a couple of additional minutes of between tunes banter and stage announcements and most importantly,

– an improved fidelity. Noteworthy, are a more complete Bill Graham outro following Caution and the right and left channels remaining intact from the transfer as they appear to be reversed on the prior circulating source. Also, tracks are now all at the correct pitch vs. being a semitone flat on earlier circulating sources.

* Emcee on “The Beatles aren’t here” is apparently NOT Tommy Smothers as previously indicated in notes to the prior most recently circulating source of the Dead’s set at Monterey Pop. The emcee is currently stated to have actually been Peter Tork of The Monkees who MC’d at the festival and whose voice on audio was compared to that of Tork introducing Buffalo Springfield on the outtakes disc of “The Complete Monterey Pop Festival” DVD and determined to be a match. (Source: Billy K. at etree.org – http://db.etree.org/shninfo_detail.php?shnid=19586)

** With regards to the Alligator > Caution potentially non-Monterey source issue noted on Deadlists and quoted below, it appears that the additional Bill Graham outro segment in addition to comparative listening across multiple selections serves to support the notion that this part of the tape is indeed from Monterey due to both its stated content and from consistency with the other material in terms of general ambience, audience sound and unique sonic characteristics appearing throughout all of the material. First off, on the earlier source(s) Bill Graham’s voice trails off half way through his opening remark after Caution, loosely interpreted by Deadlists below. The new source doesn’t trail off and he can basically be heard to say, “Let’s go just one more time, let’s hear it again, The Grateful Dead”, perhaps indicating this as a possible ending to an encore. Furthermore, he continues on with a few more lines, the most informative of which is: “When they talk about those peace talks this week, they should come out here first for a couple of days.” Preceding this statement he specifically names the following individuals who were in fact, then recent and upcoming peace talk participants: President Lyndon B. Johnson/Israeli Prime Minister Levi Eshkol/Russian Premier Alexei Kosygin. According to Deadlists, 6/18/67 Monterey Pop was the last show played prior to 7/13/67. Graham’s statement referencing “those peace talks this week” likely refers to the well publicized upcoming Glassboro Summit Conference featuring Johnson and Kosygin scheduled later that week for 23Ð25 June 1967, just five days after Monterey. A week before Monterey, the 1967 Arab-Israeli War, fought between June 5 and June 10, 1967 had featured Eshkol as a key player in the peace negotiations and was an inspiration for the Glassboro Summit talks between the U.S. and Russia. This, along with general consistencies amongst several sound factors, appear to support Alligator > Caution as being from the same performance as the rest of the material featured within the tape.

From Deadlists (as of 07/10/2011):

Comments: Alligator > Caution may not be from Monterey. What makes me suspicious is that at the conclusion of Caution, Bill Graham is heard to say something like “let’s hear it for the Grateful Dead.” Bill Graham was not the emcee at the Monterey Pop Festival, so it’s doubtful he would introduce the band from the stage. However, some folks have speculated that since Graham was in attendance and a friend of the Dead, he might have done the intro and or the outro as a “guest emcee.” The Alligator is a curiosity; it’s a very primordial version without vocals

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

This is a different version than the MR>R>D that commonly circulates. The sound on this version is noticeably less flat. The MR>R>D was probably subjected to some bad job of noise reduction, and has had some banter before Alligator removed.

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

This tape is not a master, it’s a 1st gen. It takes several minutes for the mix to come together in the beginning “Schoolgirl” is cut @ 10:43 “Viola Lee” is cut @ both ends The sound quality deteriorates towards the end of the “Alligator’ jam

Track gd1967-09-03d2t01 was renamed to gd67-09-03d2t01 to match the other tracks in the setlists so that it would sort properly in media players.

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 6-25-08 _______________________________________________________________________________________

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 6-25-08 _____________________________________________________________________

– Lovelight starts off and ends with brief vocals from Pigpen – Alligator is more or less instrumental. You can hear some very faint vocals, deep in the background. – Jam has impromptu Alligator vocals from Pigpen at the start. It later morphs into Caution.

There is some hiss, some tracks are worse than others but nothing to bad!

Setlist: 1. Morning Dew 2. New Potato Caboose 3. It Hurts Me Too 4. Cold Rain And Snow 5. Turn On Your Lovelight/ 6. Beat It On Down The Line 7. Cryptical Envelopment > 8. That’s It For The Other One > 9. Cryptical Reprise

Thanks to anonymous for the discs

Notes: – Cool Edit and WavePad were used to normalize the tracks, eliminate some dead space and clean up any audio glitches. – All tracks have been audio tagged with song titles, disc/track info and cover art via Foobar 2000/xACT Audio Compression Toolkit 2.13. – This current source eliminates the analog cassette generation present in previous circulating copies. – The levels on the Morning Dew opener are uneven and adjusted throughout before leveling off towards the end of the song and remaining consistent through the balance of the show. – Lovelight cuts a few minutes before the end of the song as in previous circulating copies.

Setlist: 1. Morning Dew 2. New Potato Caboose 3. It Hurts Me Too 4. Cold Rain And Snow 5. Turn On Your Lovelight/ 6. Beat It On Down The Line 7. Cryptical Envelopment > 8. That’s It For The Other One > 9. Cryptical Reprise

Thanks to anonymous for the discs

Notes: – Cool Edit and WavePad were used to normalize the tracks, eliminate some dead space and clean up any audio glitches. – All tracks have been audio tagged with song titles, disc/track info and cover art via Foobar 2000/xACT Audio Compression Toolkit 2.13. – This current source eliminates the analog cassette generation present in previous circulating copies. – The levels on the Morning Dew opener are uneven and adjusted throughout before leveling off towards the end of the song and remaining consistent through the balance of the show. – Lovelight cuts a few minutes before the end of the song as in previous circulating copies.

Notes: – “Lovelight” fades in and has a left channel issue, fixed by using right channel as mono to stereo, then crossfaded – “Death Don’t Have No Mercy” has a left channel issue, fixed by using right channel as mono to stereo, then crossfaded – patch source for “Caution // different cut > Feedback // cut” (reel #1 side B; 8-track 15 ips)

Reel #1 side A most likely was recorded @7.5 ips and all the rest was @15 ips. Dan Healy once explained he was running two different decks at this time, an 8-track 15 ips. and an Ampex 7.5 ips. deck.

Notes: – “Lovelight” fades in and has a left channel issue, fixed by using right channel as mono to stereo, then crossfaded – “Death Don’t Have No Mercy” has a left channel issue, fixed by using right channel as mono to stereo, then crossfaded – patch source for “Caution // different cut > Feedback // cut” (reel #1 side B; 8-track 15 ips)

Reel #1 side A most likely was recorded @7.5 ips and all the rest was @15 ips. Dan Healy once explained he was running two different decks at this time, an 8-track 15 ips. and an Ampex 7.5 ips. deck.

Reel #1 side A most likely was recorded @7.5 ips and all the rest was @15 ips. Dan Healy once explained he was running two different decks at this time, an 8-track 15 ips. and an Ampex 7.5 ips. deck. 20. gd67-11-14.sbd.motb.flac

Notes: — There is a lot of audience mixed in with this soundboard — Date and song order are uncertain (I’m going with Dick’s notes on DAT) — This is the same Caution>Feedback>AWBYGN as I put on 1/22/68 (Per Dick’s notes) — Cut in the beginning of Turn On Your Lovelight — Severe mix changes during Dancing In The Street — Beginning of Caution is missing — Thanks to Rob Eaton for lending me his Dats — Thanks To Joe B. Jones for his help with the pitch correction

Set 1: d1t01 – Turn On Your Lovelight d1t02 – Beat It On Down The Line d1t03 – Dancing In The Street d1t04 – Caution (Do Not Stop On Tracks) -> d1t05 – Feedback -> d1t06 – And We Bid You Good Night ____________________________________________________________________________ Tagging notes: Show information is embedded within the headerof each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

These reels came from Will Boswell. Back in the early 70’s, Peter Kafer lent his reels to Will who dubbed them @ 7.5 ips. As an aside this was a different time period from the FE 4/71 reels. Peter obtained his copies from Bill Abrams who had the master reels and have since vanished from the stories i’ve heard. So basically we can deduce the most likely lineage of these are MR(Abrams)>R @ 7.5 ips(Kafer)>R @ 7.5 ips(Will Boswell). My buddy Pat Lee scored his from Will and the lineage info is the same except for the extra reel gen as well. There still is some mystery surrounding these shows as for exact lineage and there are a few people who have the same lineage as this but generally, all circulating copies have been sourced with Kafer’s reels. I felt this should be shared for 2 main reasons which are the nice dynamics and the pristine condition of the reels which can make a huge difference in this day and age. the recent ABB 4-11-70 Ludlow is another textbook example of this. When one is dealing with old, fragile tape, lineage isn’t neccesarily the most important factor anymore. It’s the actual condition of the tape and how it’s played back and transfered. Finally, when Peter gave these to Will he said, “hey man, don’t give these to anybody else ok??” Of course he gave copies to his brother Dave. How could he not?? I guess some things just never change..LOL

Mixed and Mastered by Jamie Waddell a **GEMS** Production www.shnflac.net Dec 2010

-This is a mix down of the line feed left channel, and the more ambient miced right channel. Enjoy… [and yes, the “as-is” will circulate, but this is how “I believe” this source was intended to be heard] .

* all of third set with Elvin Bishop. ** Jack Casady, Mickey Hart, and Elvin Bishop only.

from Deadlists…

Bobby and Pigpen were absent. These shows were billed as “Jerry Garrceeah (Garcia) and His Friends” on the poster for the October 1968 schedule at The Matrix (see “The Art of Rock”, page 166). However, the “on the town” column in the San Francisco Chronicle newspaper, by Ralph J. Gleason, which which gave listings of what bands were playing locally, says that “The Grateful Dead and Elvin Bishop” are playing at The Matrix on these dates (see the San Francisco Chronicle for Monday October 7, 1968 pg 49 and Wednesday October 9, 1968 pg 48). on page 26 of issue #34 (Summer 1996) of Dupree’s Diamond News, Dick Latvala stated in an interview “What I know exists in our Vault are the shows, and they are on four-track 15 i.p.s. There are seven reels for 10/8, which are marked first and second sets with [Jack] Casady, then Elvin Bishop and Casady” (1) Jerry’s amp dies and they begin the Clementine Jam over again. (2) All of Set 3 with Elvin Bishop. (3) Jack Casady, Hart, and Bishop only. In addition to Set 2, DeadBase XI lists: Caution (Do Not Stop on tracks) > Jam (with Jack Casady). in DeadBase X they say in the tape timings section for 10-8-68 on page 248, that right before the 2nd set there is this announcement: Jerry: ‘Is Elvin here? Is Elvin here? Got his old scene here. Too much fun. We’re gona let Elvin play. This guy who’s gonna play the bass here is Jack Casady. This band is called Mickey Hart and the Hartbeats.’ Elvin Bishop: ‘Hello, my name is Elvin Bishop and my band was supposed to be playing here tonight. But we had a little trouble and one of the members of the rhythm section couldn’t make it, so we’re gonna sort of be jamming.’

12. gd68-10-10.004513.sbd.miller-ladner.sbeok.t-flac16

This is flac encoded & tagged version of shnid: 04513

Grateful Dead (aka Mickey and the Heartbeats) 68-10-10 The Matrix San Francisco, CA

source: SBD>Rm>Reel>CD (May Be SBD>Rm>Reel>Reel>CD) thanks to c.miller for seeds.

Tagging notes: Show information is embedded within the headerof each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use st5 to validate audio integrity. Md5 values will change if tagging is altered.

Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use ffp to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 7-05-11 _______________________________________________________________________

Notes: — Lovelight fades in, very little missing — Cleaned up cuts in Dark Star, St. Stephen and The Other One — I also worked on the levels a bit ______________________________________________________________________________

Tagging notes: Show information is embedded within the headerof each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use ffp to validate audio integrity. Md5 values will change if tagging is altered. B. Proctor 7-05-11 ___________________________________________________________________________

BAND Grateful Dead VENUE unknown CITY unknown STATE unknown DATE ??/??/68 SET1 St Stephen [#2:40] > Cryptical Envelopment [1:42] > Drums [0:14] > The Other One [4:28] > Cryptical Envelopment [6:03] > New Potato Caboose [10:46] > Alligator [3:20] > Drums [6:19] > Caution (Do Not Stop On Tracks) {11:29#] SET2 SET3 ENCORE COMMENTS At 3:56 into the Drums after Alligator, they start singing Alligator vocals and at 4:35 in to it, Jerry joins in with a Caution type solo. Although this fragment circulates as “Fall 1968”, “3/22/68 Detroit”, and “May 1968”, it is from an unlabeled reel. There is an entry for this set list on p. 164 of Volume 1 of The Deadhead’s Taping Compendium. According to Rob Eaton: “There were 5 unlabeled 7 inch reels found in the Vault many years ago. Several contained very early versions of Stephen. The tape you describe is one of these unknown reels. The best estimate for a date would be April/May 1968 or spring ’68.” RECORDING 45 SBD ————————————————————–

BAND Grateful Dead VENUE unknown CITY unknown STATE unknown DATE ??/??/68 SET1 Drums [#1:30]> Jam [13:59] > Caution [1:07#] SET2 SET3 ENCORE COMMENTS The date and location of this recording are unknown. Its hard to say for sure, but it sounds like late 1968 – maybe September or October or thereabouts. The Drums has that Bol scat “Ya, Ya, Yakita, Yakita” in it. RECORDING 17 SBD

BAND Grateful Dead VENUE unknown CITY unknown STATE unknown DATE ??/??/68 SET1 Cryptical Envelopment [#1:06] > The Other One [2:31] > Cryptical Envelopment [3:30] > New Potato Caboose [8:41] ; It Hurts Me Too [#4:05] ; Born Cross-Eyed [3:08#] SET2 SET3 ENCORE COMMENTS The date and location of this recording are unknown. There is no Drums after the first Cryptical, The Other One has the standard lyrics, but Bobby stumbles with them as on 2-3-68. This recording is probably very close to that date. RECORDING 25 SBD

hiss level significantly higher than the other disks in this set and some distortion on bass – looks to have more than 1 cassette generation. fairly frequent partial channel drop outs from what might be tape decay on some songs

BAND Grateful Dead VENUE unknown CITY unknown STATE unknown DATE ??/??/68 SET1 Cryptical Envelopment [#0:39] > The Other One [5:24] > Cryptical Envelopment [9:37] > Good Morning Little Schoolgirl [14:49] ; Dark Star [#13:33] > St. Stephen [3:34] > The Eleven [12:09] > Death Don’t Have No Mercy [8:%07] ; Turn On Your Lovelight [9:48#] SET2 SET3 ENCORE COMMENTS The date and location of this recording are unknown. It begins with a cut right into the “doesn’t seem to matter” line in Cryptical Envelopment. There is a six second or so drum solo intro to The Other One. At the “one man gathers what another man spills” break in St. Stephen, Jerry and maybe two others laugh, but there are not really any words. RECORDING 78 SBD

BAND Grateful Dead VENUE unknown CITY unknown STATE unknown DATE ??/??/68 SET1 St. Stephen [#7:33] > Cryptical Envelopment [1:46] > The Other One [4:43] > Cryptical Envelopment [4:28] > Turn On You Lovelight [10:10#] SET2 SET3 ENCORE COMMENTS The date and location of this recording are unknown. There is a 13 second drum solo intro to The Other One. At the “one man gathers what another man spills” break in St. Stephen, there are no words, just further jamming immediately. RECORDING 28 SBD

BAND Grateful Dead VENUE unknown CITY unknown STATE unknown DATE ??/??/68 SET1 Morning Dew [#6:14] ; Hurts Me Too [#4:49] ; Dark Star [16%:03) St. Stephen [8:21] > Turn On Your Lovelight [11:04#] SET2 SET3 ENCORE COMMENTS The date and location of this recording are unknown. There is a tape flip in Dark Star. At the “one man gathers what another man spills” break in St. Stephen it goes right into a short jam and back into the next lyrics with no comments of any kind. RECORDING 28 SBD19691. gd69-01-17.89798.sbd.miller.sbeok.t-flac16

–@ 7:01 in Dark Star: increased hiss in left channel due to low original levels

–@ 2:46 in Eleven: left channel loses amplitude for several seconds

–cut near the end of Eleven; several minutes of Death Don’t are lost

–splice in Lovelight @ 16:51

–some degradation for the last few minutes of Lovelight

Sound Forge was used to normalize, correct the pitch, and remove or lessen a number of blemishes. Some small blemishes remain, though none are offensive. Although the exact lineage of this recording is unknown, the sound indicates no more than two analog generations before the transfer to digital Part of The Music Never Stopped Project 2002